Master Bus Compressor fro TV series opinion?

[Postman]

I read the g-slutz thread with amusement, especially claims of mixing with no compressors at all. Some of those posters mix for HBO and/or cinema, which is a completely different world than other television outlets. HBO and cinema do not have specific loudness specifications, and there is plenty of headroom available (HBO allows up to -2dbfs).

By contrast, National Geographic Television are currently specifying -23LKFS for any section of a show, for both surround and LtRt versions, with no more than -10dbfs peaks in the LtRt. There is NO PRACTICAL WAY to meet such a spec without dialog limiting. The increased noise floor and reduced dynamic range all require rebalance of music and effects, plus there is no headroom for music swells or big sfx hits.

Anyway, I'm saying what I always say, it depends on who you are delivering to.

[lode]

This explains a lot about how some HBO shows have a dynamic range way beyond what I would dare have on TV.

Anyway we always run with an L2 at the end. Other compressors vary on different sub-auxes.

[Tank]

Try the BrickWall Limiter of TC.Electronic.

[spoons]

Originally Posted by Postman

I read the g-slutz thread with amusement, especially claims of mixing with no compressors at all...........
Anyway, I'm saying what I always say, it depends on who you are delivering to.

Well said

I'm liking the Waves SSL G or dial bus at the moment.

[kd_special]

We use L3's Or L2's on our stems. after compression and Eqs. But really its almost a safety thing more than a Limiter. I personally try not to hit them very hard. Especially The L3 or it gets kinda tingy compared to the L2 or L1

kd